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ToC: RENAISSANCE STUDIES

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  • Prof. B.V. Toshev
    Just Received (membership): RENAISANCE STUDIES. JOURNAL OF THE SOCIETY FOR RENAISSANCE STUDIES ISSN 0269-1213 (Wiley-Blackwell) Editor: A. Hadfield [Cover
    Message 1 of 9 , Sep 2, 2011
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      Just Received (membership):

      RENAISANCE STUDIES. JOURNAL OF THE SOCIETY FOR RENAISSANCE STUDIES ISSN 0269-1213 (Wiley-Blackwell)

      Editor: A. Hadfield

      Cover image for Vol. 25 Issue 3

      All articles from 1997 to today are available.

      ======================

      ToC: Renaissance Studies, Volume 25, Number 3, June 2011

      ======================

      S. Davies. America and Amerindians in Sebastian Munster's Cosmographiae universalis libri VI (1550) (p. 351)

      Notes: 133

      Sebastian Münster's Cosmographiae universalis libri VI (1550) was produced in more sixteenth-century editions that any book apart from the Bible. A descriptive geography prefaced by a series of maps, it offered the reader an overview of the world's peoples, natural history and geography. While German cosmographers had been instrumental in the emergence of the notion of America as the fourth part of the world, Münster considered America as part of Asia in a world with three, rather than four, parts. This article investigates how Münster conceptualized America and Amerindians in the Cosmographia, and the ways in which he related them to the rest of the world. It shows how Münster's consideration of America as part of an island chain that included the Spice Islands or Moluccas fed into a broader discourse of long-distance trade and exploration rather than indicating the limits of his ability to reconcile classical geography with contemporary exploration. It explains why Münster's delineation of America as an island was unsuccessful, but also why it consituted a reasonable model in the sixteenth century.

      V. De Lucca.  Strategies of Women Patrons of Music and Theatre in Rome: Maria Mancini Colonna, Queen Christina of Sweden, and Women of Their Circles (p. 374)

      Notes: 70

      Cultural life in late seventeenth-century Rome was enormously enriched by women's support of music and musicians, theatre, and public entertainments. This essay explores the patronage of Maria Mancini Colonna, Queen Christina of Sweden and women of their circles, the resonance of their sponsorship of musical or theatrical events in Rome during the 1660s and 1670s, and their self-fashioning as patrons. The picture that results from this investigation shows that patronage offered women the possibility to express their desires, accomplish diplomatic endeavours, and even respond to the criticisms of their detractors in acceptable ways. Furthermore, by examining mostly chronicles compiled by their male contemporaries (avvisi di Roma), correspondence, and memoirs, this essay aims also at exploring the challenges and methodological avenues available to scholars whose study of women's patronage cannot be supported by the proof of financial support to a musician or to sponsor an event. The much broader idea of patronage that emerges from such a study indicates that the path is open for music historians for more studies on women's struggles to produce, inspire, influence, and commission music, theatrical entertainment, and cultural activities in early modern Rome.

      I. Verstegen.  Francesco Paciotti, European Geopolitics, and Military Architecture (p. 393)

      Notes: 92

      Francesco Paciotti (1520–90) was one of the most famous military architects of the sixteenth century, building citadels in Turin and Antwerp and consulting all over Europe. Much of his success has not been properly connected to his descent from an illegitimate son of Giovanni della Rovere (d. 1501) and subsequent attainment of patrician status of the Paciotti clan in their native Urbino. The fact that Paciotti could be taken into confidence by allied European leaders – King Philip II of Spain, Duke Emmanuel Philibert of Savoy, Popes Pius V and Gregory XIII – was afforded by his ambassador-like status for the Duke of Urbino, Guidobaldo II della Rovere (1514–74). This new understanding of Paciotti's success allows us to discover an order among his works. Far from those of a neutral journeyman, Paciotti's projects all align diplomatically to Urbino-friendly jobs. The new understanding also, however, raises many new issues of the loftiness of the pursuit of military rather than civil architecture, of the secretive (and therefore largely unpublished) nature of noble-ambassadorial intellectual products, and the weight that should be given to the resulting historical record of texts and prints produced by anxious entrepreneurial authors and artists.

      T. Bardcoe.  `The Compasse of That Islands Space': Insular Fictions in the Writing of Edmund Spenser (p. 415)

      Notes: 71

      This article builds on previous work that has explored the geographies of Spenser's writing and places a new focus on his depictions of islands. It considers how these isolated landmasses present unique opportunities for fiction-making in light of their reputation in cartographical history and their appearance in works by Spenser's contemporaries. Recent criticism and theory has drawn attention to the importance of islands in the early modern imagination and this article argues that they can be regarded as key sites of creativity in Spenser's work, which are used by the author to negotiate, for example, the limits of fiction and the strained relationship between England and Ireland at the end of the sixteenth century.

      L. Tosi.  After Elizabeth: Representations of Female Rule in Massinger's Tragicomedies (p. 433)

      Notes: 39

      The perception, memories and representations of Elizabeth in the early seventeenth century can hardly be separated by political concerns. As Jacobean and Caroline governments were progressively distancing themselves from the values Elizabeth had been known to support, the idealized memory of good Queen Bess could also be effectively reframed and used as a form of opposition to the rule of James and Charles. The representation of women rulers in Philip Massinger's tragicomedies may be read as a crucial example of the way a nostalgic vision of Elizabeth blends in with more contemporary considerations about female authority as well as representations of ideal relationships between the sexes and between the monarch and his/her people. The purpose of this article is to investigate some of the implications of the so-called myth of Elizabeth, and the way some dramatic representations of the female governor complicate and integrate the example of Elizabeth as idealized monarch and become part of a wider investigation on hierarchy and the private/public conduct of rulers in Jacobean and Caroline times.

      K. Mccarthy.  Philips's 1628 Paradisus and the Triumph of the Eucharist (p. 447)

      Notes: 17

      Peter Philips (1560/61–1628) was among the first English composers to embrace the musical style of the Italianate Baroque. His Paradisus sacris cantionibus consitus, printed during his final year at the Brussels court of the Archdukes Albert and Isabella, is a large collection of accompanied monodies, duets and trios, a number of them lavishly ornamented. Some of the texts he sets in this book are drawn from the common stock of post-Tridentine devotion, but others are lengthy eucharistic meditations, unusual and at times rather overwrought. Most of these latter texts can in fact be traced to a devotional book (Hebdomada eucharistica) published a decade earlier in Brussels by one of Philips's fellow English-speaking exiles at the archducal court, the chaplain and theologian Richard Stanihurst. Philips's musical settings, dedicated to Albert and Isabella's almoner Francis de Rye, took shape in an intense atmosphere of Baroque eucharistic piety – in the company of works such as Rubens' formidable tapestries on the Triumph of the Eucharist, commissioned by Isabella herself, and other elaborate architectural and cultural projects. In this paper, I explore the context of the 1628 Paradisus, the court culture which incited a proudly English composer (as he identified himself on all his title pages) to identify so strongly with the European Counter-Reformation. I also reconsider the place of Philips and his music in the community of English-speaking Catholic expatriates.

      Review of Exhibitions (p. 459): 2 reviews

      Reviews of Books (p. 475): 7 reviews.

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    • Prof. B.V. Toshev
      Just Received (membership): RENAISANCE STUDIES. JOURNAL OF THE SOCIETY FOR RENAISSANCE STUDIES ISSN 0269-1213 (Wiley-Blackwell) Editor: A. Hadfield [Cover
      Message 2 of 9 , Sep 3, 2011
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        Just Received (membership):

        RENAISANCE STUDIES. JOURNAL OF THE SOCIETY FOR RENAISSANCE STUDIES ISSN 0269-1213 (Wiley-Blackwell)

        Editor: A. Hadfield

        Cover image for Vol. 25 Issue 4

        All articles from 1997 to today are available.

        ======================

        ToC: Renaissance Studies, Volume 25, Number 4, September 2011

        ======================

        http://onlinelibrary.wiley.com/doi/10.1111/rest.2011.25.issue-4/issuetoc 

        ======================

      • Prof. B.V. Toshev
        Just Received (membership): RENAISANCE STUDIES. JOURNAL OF THE SOCIETY FOR RENAISSANCE STUDIES ISSN 0269-1213 (Wiley-Blackwell) Editor: A. Hadfield [scan0002]
        Message 3 of 9 , Nov 24, 2011
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          RENAISANCE STUDIES. JOURNAL OF THE SOCIETY FOR RENAISSANCE STUDIES ISSN 0269-1213 (Wiley-Blackwell)

          Editor: A. Hadfield

          scan0002

          All articles from 1997 to today are available.

          ======================

          ToC: Renaissance Studies, Volume 25, Number 5, November 2011

          ======================

          L. Saif. The Arabic theory of astral influences in early modern medicine (p. 609)

          Notes: 102

          Medicine and the occult in the Renaissance were conceptually related. They were both considered as etiological pursuits that investigate the manifest and hidden causes of human conditions. Astrological medicine specifically depends on the notion that the stars are higher causes of human ailments. This notion permeated the medical thought of the Renaissance. But how can astrology be reconciled with medicine? During the Golden Age of Islam, some Arabic astrologers justified the belief in astral influences by composing a theory that explains `scientifically' why the stars above had such a strong influence on the sublunary world and how their influence could be utilized and harnessed for the benefit of man generally and his health specifically. These Arabic astrologers considered medicine and astrology as complementing one another; the former investigates terrestrial causes and the latter the celestial ones which themselves determine the conditions surrounding human beings. During the Western Renaissance, many of the physicians and occultists were acquainted with the works of such Arabic astrologers and appropriated their theory of astral influences to defend their occult thought and practices. In this article, I discuss the impact of the Arabic theory of astral influences on the medicine of Marsilio Ficino (1433–1499) and Jean Fernel (1497–1558).

          Marsilio Ficino

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          S.T. Strocchia. The nun apothecaries of Renaissance Florence: marketing medicines in the convent (p. 627)

          Notes: 80

          Using unpublished archival sources, this essay analyses the development of convent pharmacies in sixteenth-century Florence and situates them in a changing medical and political landscape. These female-run apothecary shops shed light on several important issues for historians of Renaissance medicine and society: the nature and extent of women's medical agency; the acquisition and transmission of specialized knowledge outside a university or guild setting; the regulation of unofficial practitioners by guild and state authorities. By producing and marketing drugs to the public, Renaissance religious women both augmented the medical resources available in Italian urban society and acquired roles of public significance beyond the spiritual realm. I analyse the roots of convent pharmacies in new social welfare initiatives circa 1500, then consider their products, clientele, business practices and methods of training new practitioners. Finally, I ask how convent pharmacies were regulated and why they were protected by early Medici dukes. I argue that Florentine convent pharmacies remained vigorous entities throughout the sixteenth century despite tighter enclosure provisions and professionalizing aspirations, partly because contestations over their status enabled Cosimo I de' Medici and his successors to advance their personal authority within a centralizing state.

          REST_721_f1

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          Cosimo I de' Medici (1519-1574)

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          J. LawrenceSamuel Daniel's The Complaint of Rosamond and the arrival of Tasso's Armida in England (p. 648)

          Notes: 46

          This essay argues that the earliest English work to offer a sustained poetic engagement with the figure of Armida, the celebrated pagan enchantress from Tasso's Gerusalemme liberata (1581), is Daniel's The Complaint of Rosamond (1592). Unlike Spenser in The Faerie Queene (1590), who pays little attention to the enchantress herself even as he imitates Tasso directly in his construction of the Bower of Bliss, Daniel's portrayal of his long-dead royal mistress is repeatedly, if unexpectedly, associated with Armida's beauty. The essay considers how Daniel might have first encountered Tasso's character in Italy, and goes on to demonstrate how frequently he translated from Tasso in describing the analogous impact of Rosamond's beauty at the court of Henry II. A few of Daniel's direct imitations from the Italian were detected by his contemporary Francis Davison, but many others were missed, and they have all been entirely ignored in modern criticism. This essay then seeks to demonstrate their centrality to Daniel's conception of his spectral narrator, concluding that his translation and creative adaptation of material related to Armida from Tasso's poem adds a significant level of interpretative ambiguity to the figure of Rosamond.

          Samuel Daniel

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          Torquato Tasso

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          H. Shin. Fatherly violence, motherly absence, servants' resistance in Shakespeare and his time (p. 666)

          Notes: 65

          This essay explores the significant roles played by non-relatives who function as mother-surrogates to endangered children. The essay introduces the non-relatives, including servants, who intervene on behalf of passive mothers to confront violent masters/ fathers. The essay challenges the Renaissance dichotomy between loving biological parent and dangerous non-biological parent by taking up various literary examples of violent fathers, passive mothers, and active non-relatives who serve as the only protector/ guardian of the child in danger. The essay also points out the Renaissance addition of the active servant as a way to show a changing social environment. The resistance on the part of non-relatives is a Renaissance addition to the medieval representations of famous stories of patient Griselda: Petrarch, Boccaccio, and Chaucer, focusing on the silent mother who easily succumbs to her husband's child murder, do not provide any equivalent to the Renaissance creation of non-relatives as an active guardian of the child in danger. By focusing on the need for non-biological parents who provide safety to children from their biological parents' violence, this essay explains why surrogate parents emerge as a necessity in Renaissance England and why tyrannous patriarchal violence is legitimately resisted.

          T. Shephard. Constructing Isabella d'Este's musical decorum in the visual sphere (p. 684)

          Notes: 76

          Over the course of her life as Marchesa of Mantua, Isabella d'Este won fame as a leader in fashion and taste, and as an enthusiastic employer of artists, musicians, poets and scholars. Her motivations in this respect were, inevitably, neither entirely personal nor entirely philanthropic, but served the purpose of presenting to the world an appropriate image of the noblewoman at leisure. In this study I will discuss aspects of her image-making in visual, as well as literary and poetic, spheres that relate directly to Isabella's music patronage, and particularly to her own musicianship. I will characterize the persona thus manifested as a social construction, grounded in and shaped by the realities of its performance.

          REST_741_f1

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          Reviews of Exhibitions (p. 716): 1 review;

          REST_744_f4REST_744_f3

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          M. Healy. Review Essay: The Body in Renaissance Studies (p. 716); Book Reviews (p. 720): 5 reviews (The Italian Inquisition; Milton among the Puritans: The Case for Historical Revisionism; The Cambridge Introduction to Shakespeare's Poetry; Renaissance Postscripts: Responding to Ovid's Heroides in Sixteenth-CenturyFrance; Thomas More's Utopia in Early Modern Europe: Paratexts and Contexts
        • Prof. B.V. Toshev
          Just Received (membership): RENAISANCE STUDIES. JOURNAL OF THE SOCIETY FOR RENAISSANCE STUDIES ISSN 0269-1213 (Wiley-Blackwell) [Cover image for Vol. 26 Issue
          Message 4 of 9 , Feb 14, 2012
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            RENAISANCE STUDIES. JOURNAL OF THE SOCIETY FOR RENAISSANCE STUDIES ISSN 0269-1213 (Wiley-Blackwell)

            Cover image for Vol. 26 Issue 1

            Editor: J. Richards

            ======================

            ToC: Renaissance Studies, Volume 26, Number 1, February 2012

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            SPECIAL ISSUE: MUSUCAL MATERIALS AND CULTURAL SPACES

            R. Wistreich. Musical materials and cultural spaces (p. 1)

            Notes: 24

            Broadly defined, then, materiality relates not only to the significance of physical forms, but also the social materiality (or `sociology') of texts: that is, the social and cultural practices of manuscript and print and the contexts in which they were produced, circulated and consumed.

            K. Gibson. The order of the book: materiality, narrative and authorial voice in John Dowland's First Booke of Songes or Ayres (p. 13)

            Notes: 71

            In 1597 John Dowland made his self-authorised print debut with The First Booke of Songes or Ayres. Many of the songs in the collection were, as Dowland indicates, `ripe inough by their age', having `already grac't' the two universities. The songs, and their poetic texts independent of musical setting, had had various pre-print histories and would have invited specific contextually situated interpretations. Gathered together, set and ordered by Dowland in his printed collection the songs might attract alternative, though perhaps complimentary, readings informed by their new configuration and materiality. This article seeks to explore the ways in which the inclusion and positioning of these songs in a printed book might have impinged on the ways in which they were read and understood by contemporaneous readers, singers and listeners. The songs will be considered, firstly, through their framing by the prefatory pages of the book, and the various agendas these pages express – not least, that of the named author – and, secondly, from the perspective of their ordering and the overarching narrative it implies, the musical and textual interrelationships they evoke and their musical, poetic and political references to the world outside the pages of the book that might have also have informed interpretations of the songs as part of a printed collection.

             John Dowland (1563-1626)

            L. Stras. The Ricreationi per monache of Suor Annalena Aldobrandini (p. 34)

            Notes: 46

            Two newly discovered manuscripts in the Biblioteca Estense provide an insight into convent culture in late sixteenth-century Italy. They are the work of Annalena Aldobrandini, a nun at the convent of Santo Spirito in Florence. Annalena's manuscript contains eight veglie intended for performance during Carnevale and the Calendimaggio. Striking detail is preserved in the instructions for instruments, music, staging and costumes. Subject matter ranges from intellectual debates about the sciences and the arts to an appreciation of religious commitment and the difficulties of maintaining moral rectitude as part of monastic life. There is a wealth of practical information regarding music in a little-known dramatic context as well as a unique exposition of the Divine Office as a musical, as well as a religious, experience. The veglie are testament to the creativity of the nuns, showing how they, like the Medici outside, used spectacle as a method of community bonding. Moreover, because they were transmitted in manuscript rather than in print, they are unmediated by any masculine agency. The importance of this manuscript to our better understanding of early modern monastic women, their attitudes to enclosure, education and the performing arts, and their interactions with the secular world cannot be overestimated.

            M. Williamson. Affordable splendour: editing, printing and marketing the Sarum Antiphoner (1519–20) (p. 60)

            Notes: 128

            The two-volume Sarum Antiphoner, printed by Wolfgang Hopyl for Franz Birckman in 1519–20, was the most ambitious music-publishing venture undertaken for the English market throughout the sixteenth century. Printed in red and black, and comprising nearly 1,100 folios, it provided music and texts for the divine Office. It was a logistical triumph, resulting from editorial expertise provided from members of King's College, Cambridge (one of whom died during its preparation). Although very few copies survive, its potential market was substantial, and its commercial viability is considered here (as well as its likely retail price). Most copies were presumably lost at the Reformation; the surviving copies, a high number of which were preserved in private households, all belong to the same edition of 1519–20.

            Y.S. TeichlerMy Ladye Nevells Booke: music, patronage and cultural negotiation in late sixteenth-century England (p. 88)

            Notes: 73

            The Elizabethan Reformation of 1559 marked not only a religious, but also a socio-cultural watershed, yielding processes of transformation and redefinition of existing tropes and symbols, as reflected in a variety of aesthetic expressions engendered in England during the last third of the sixteenth century. English keyboard music, hitherto largely composed for the organ and conceived in terms of the Catholic rite, now lost its liturgical function and composers, notably William Byrd, organist of the Chapel Royal and England's foremost musician, began exploring new compositional avenues of non-ecclesiastical keyboard music. The first known collection of the new repertoire is My Ladye Nevells Booke (1591), an ornately designed manuscript of Byrd's secular keyboard music dedicated to Lady Elizabeth Neville. Exploring the volume both as a musical text and as an artefact in the context of post-Reformation English culture, this article seeks to explicate the aesthetic and communicatory value of Byrd's keyboard idiom in the specific material form in which it was dedicated to a patroness, demonstrating how the novelty and sophistication of his keyboard compositions were embedded in Renaissance intellectual traditions that shaped similarly innovative and genuinely English creative achievements in literature, visual art and indeed music.

            W. Byrd (1540-1623)

            Elizabeth I

            E. Kenny. Revealing their hand: lute tablatures in early seventeenth-century England (p. 112)

            Notes: 64

            In this article I investigate how musical concepts were transmitted in the manuscript culture of late sixteenth- and early seventeenth-century lute music in England. Using material from the Mynshall and ML Lute Books I will suggest that a mental map of music theory is built through physical process in a way that might help to explain – at least in England – the gap between the theory books and the working methods of players and composers. Exploring the physical imprint which a piece of lute tablature represents, I will demonstrate that archaeological concepts such as the relationship between materiality and memory are potentially more useful than more textually based historical ones in exploring much of the instrumental music of the past. The books document a process of tailoring musical ideas to an individual's physical strengths and weaknesses, which has priority over transmitting a `good' version of a musical text. The processes behind different kinds of left and right hand ornamentation demonstrate not only the individual player's skills but are related to the meaning of the different sides of the body in a wider cultural context. This has performance practice implications: should a player transmit or embody a musical idea?

            aiwaz

            T. Carter. `E in rileggendo poi le proprie note': Monteverdi responds to Artusi? (p. 138)

            Notes: 48

            Claudio Monteverdi's Il quarto libro de madrigali a cinque voci (1603) ends with a setting of `Piagn'e sospira: e quand'i caldi raggi', a text from Tasso's Gerusalemme conquistata (1593). Nicea, a Muslim in love with a Christian, wanders through the forest carving her beloved's name in the trees, and weeps as she re-reads what she has scored in the bark. Monteverdi's Fourth Book of madrigals is an odd collection. Fifteen months before, the composer had been appointed maestro della musica to Duke Vincenzo Gonzaga of Mantua. However, instead of responding in what might seem the normal way – by printing something in the duke's honour – Monteverdi chose to dedicate a madrigal book to the Accademia degli Intrepidi of Ferrara. Even stranger is the fact that he makes no direct mention of what must have been uppermost in his mind, the recent attack on his madrigals by the Bolognese theorist Giovanni Maria Artusi. Artusi's diatribe against the moderns eventually forced the composer to come up with the defence of his `second' practice. However, re-reading `Piagn'e sospira'– as the text tells us to do – suggests that before Monteverdi put his theoretical brain in gear, he had already come up with a musical response.

            C. Monteverdi (1567-1647)

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            THE BELOGRADCHIK SOCIETY FOR LOCAL HISTORY AND FOLK STUDIES
            IN PURSUIT OF EXCELLENCE IN LOCAL HISTORY: COLLECTING, PRESERVING, DISSEMINATING
            ========================

          • Prof. B.V. Toshev
            Just Received (membership): RENAISANCE STUDIES. JOURNAL OF THE SOCIETY FOR RENAISSANCE STUDIES ISSN 0269-1213 (Wiley-Blackwell) [Cover image for Vol. 26 Issue
            Message 5 of 9 , Apr 5, 2012
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              RENAISANCE STUDIES. JOURNAL OF THE SOCIETY FOR RENAISSANCE STUDIES ISSN 0269-1213 (Wiley-Blackwell)

              Cover image for Vol. 26 Issue 1

              Editor: J. Richards

              ======================

              ToC: Renaissance Studies, Volume 26, Number 2, April 2012

              ======================

              C. Preedy. Bringing the house down: religion and the household in Marlowe's Jew of Malta (p. 163)

              Notes: 51

              Christopher Marlowe's depictions of religious conflict engage with major political and national issues, but they also acknowledge the domestic implications of such conflict. In sixteenth-century England, theological dissent split households as well as nations, and Marlowe introduces his audiences to characters who cite religious precedents to justify domestic treason: committed in the name of religion, their actions fracture families, and turn servants against masters. Marlowe's interest in households devastated by religious difference is most evident in The Jew of Malta. As this article argues, Malta's households are destroyed by characters who use religious rhetoric to rationalise self-interested and anti-social agendas: the anti-Semitic Ferneze, seizing Barabas' property; Barabas, killing a daughter who varies from him in religion; and Ithimore the Turk, betraying his Jewish master. This article suggests that Marlowe's play responds to contemporary experiences of religious persecution, in particular the Protestant state's campaign to eradicate the English recusant household, and concludes that Marlowe is, within a domestic setting, exposing the hypocritical appropriation of religious rhetoric by characters selfinterestedly pursuing purely secular advantage.

              A. Overell, S.C. Lucas. Whose wonderful news? Italian satire and William Baldwin's Wonderfull Newes of the Death of Paule the III (p. 183)

              Notes: 67

              About the year 1552, the celebrated mid-Tudor author William Baldwin released Wonderfull Newes of the Death of Paul the III, his translation of a satirical and scandalous account of Pope Paul III's supposed arrival in hell. For over a century, influential Anglophone scholars and bibliographers have ascribed the original of Baldwin's work, the anonymous Epistola de morte Pauli tertii (1549), to the Lutheran reformer, Matthias Flacius, who was based in Germany. This article challenges that attribution, showing that there is no evidence for Flacius' authorship. Instead, it locates the Epistola in a community of Italian religious exiles publishing in Basel and identifies the fiercely anti-papal polemicist Pier Paolo Vergerio as the most likely author. In reopening the authorship question, the essay examines the motives behind the creation of this work and shows how Renaissance anti-papalism traversed confessional and geographical boundaries. The conclusion traces the intricate international network through which this topical Italian satire probably reached William Baldwin, whose translation became one of the most daring texts of the earlier Tudor period.

              E. Gurney. Thomas More and the problem of charity (p. 197)

              Notes: 67

              This article examines the impact and influence of the term `charity' in the polemical exchange between Thomas More and William Tyndale. Much of More's criticism of Tyndale's unauthorized 1526 New Testament centres on this word, or rather its absence, as Tyndale opted to translate agape with the more general term `love'. Matters of linguistic usage traversed more complicated questions of interpretation and rhetoric, however, even as scriptural imperatives to perform charity lent sanction and urgency to both writers. Indeed, Tyndale's translation represented to More the larger dangers implicit in charity, which was vulnerable to misappropriation (as well as mistranslation) by heretics. This essay places their debate in the context of contemporary developments in poor relief, which exhibit comparable hermeneutic tendencies, ultimately suggesting that the problem of the heretic and the problem of the false beggar posed similar challenges to `charitable' readers during the period.

              C. Whistler. Uncovering beauty: Titian's Triumph of Love in the Vendramin collection (p. 218)

              Notes: 98

              An allegory of the power of love by Titian painted about 1543–46 was originally made as a cover for a female portrait in the collection of Gabriel Vendramin (1484–1552) in Venice. This is a rare instance of the survival of a documented canvas cover (timpano) linked to a specific image. My article considers the visual and literary contexts for such covers, and the cultural setting of the Vendramin collection, where sociable viewing involved shared aesthetic and haptic experiences. I suggest that the lost portrait depicted the Venetian patrician Elisabetta Querini Massola (d. 1559) whose virtue and beauty were celebrated in poems by Pietro Bembo, Pietro Aretino and Giovanni della Casa. I link the imagery of the cover to two sonnets by Della Casa in praise of Elisabetta. For reasons of decorum a timpano would have been appropriate for a noblewoman's portrait, but Titian's inventive allegory was designed both to evoke Vendramin's celebrated collection and to recall qualities associated with the image it concealed.

              C.M. Richarson. St Joseph, St Peter, Jean Gerson and the Guelphs (p. 243)

              Notes: 84

              The representation of St Joseph in Renaissance art has attracted scholarly attention in recent years, but not that of St Peter. Considering his prevalence in late antique and medieval art, Peter's artistic representation in the early modern period is remarkably rare. This article finds that the two saints were inextricably linked, particularly after the period of councils in the first half of the fifteenth century. It examines the significance of their conflation through the writings of Jean Gerson at the Council of Constance when the role and nature of a single pope to replace the three of the Great Schism was being debated. Joseph, as protector of the Holy Family and of the infant Jesus, was paralleled with Peter who accompanied the adult Christ: Joseph's marriage to the Virgin Mary was a model for the metaphorical marriage of Christ to his Church which he delegated Peter to look after as his vicar. Therefore Joseph was a model for the successors of Peter – the popes – to follow. The imagery was particularly relevant in a Guelph context, which ensured its prevalence until the period of the Italian Wars.


              D.M. Unger. The pope, the painter, and the dynamics of social standing in the Stanza della Segnatura (p. 269)

              Notes: 44

              Raphael's School of Athens received much attention in modern scholarship, yet little attention was given to the anonymous figures of classical beauty that are scattered, not only in this particular painting, but also in the Disputà, the painting on the opposite wall of the stanza. In this article, the focus of attention will be on three such figures in the School of Athens, which are situated on the left side of the painting. The three, a baby, a boy, and a young man, differ from all the other anonymous figures in this part of the painting in that they have their heads turned to the right and are gazing directly at the viewer. They will be considered as a group that may have had two purposes, both of which relate to political narratives. The first purpose was to accentuate the image and meaning of the pope – Julius II; the second, to draw attention to the painter's self-portrait and his social agenda. Their placement together is based on a peculiar composition that has a precedent in Florentine mural painting.

              Review of Exhibitions (p. 288): 3 reviews

              Book Reviews (p. 308): 5 reviews.

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              DISCOVER BULGARIA: Belogradchik

              http://4coolpics.com/pics/0249/049420249935.jpg

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            • Prof. B.V. Toshev
              Just Received (membership): RENAISANCE STUDIES. JOURNAL OF THE SOCIETY FOR RENAISSANCE STUDIES ISSN 0269-1213 (Wiley-Blackwell) [Cover image for Vol. 26
              Message 6 of 9 , Jun 7, 2012
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                RENAISANCE STUDIES. JOURNAL OF THE SOCIETY FOR RENAISSANCE STUDIES ISSN 0269-1213 (Wiley-Blackwell)

                Cover image for Vol. 26 Issue 1

                Editor: J. Richards

                ======================

                ToC: Renaissance Studies, Volume 26, Number 3, June 2012

                ======================

                S. McIntosh. The massacre of St Bartholomew on the English stage: Chapman, Marlowe, and the Duke of Guise (p. 325)

                Notes: 43

                This article considers a passage in George Chapman's The Revenge of Bussy D'Ambois in which the hero of the play defends his patron, the Duke of Guise, for his participation in the St Bartholomew's Day Massacre. Investigating why Chapman would have his protagonist make such a controversial utterance, it argues that he was responding to earlier reports of the same period in news-books, pamphlets, Marlowe's Massacre at Paris and his own earlier tragedy Bussy D'Ambois. It is suggested that the faction of Clermont and the Guise consistently voices opinions that might be understood in light of Andrew Hadfield's description of literary republicanism. Therefore, Chapman's reminder to the audience is part of an ongoing attempt to construct a double vision of the Guise: from one perspective he is an admirable character who virtuously resists a tyrannical monarch, but on the other hand echoes of his villainous reputation remain, as a defensive strategy on Chapman's part, to prevent him clashing with censors over the political opinions expressed by this character. Finally, the article suggests that this play constitutes a cautionary warning to Prince Henry not to heed the pro-war voices urging him to attack Catholic Europe.

                G. Chapman (1559-1634)

                N. Constantinidou. Public and private, divine and temporal in Justus Lipsius' De Constantia and Politica (p. 345)

                Notes: 88

                The Flemish humanist Justus Lipsius' (1547–1606) two works, the Constantia and the Politica are analysed here as examples of the redefinition of the boundaries between public and private brought about in the late sixteenth century. This was the result of many factors, among which the wars of religion was perhaps the most prominent. Lipsius' experience of the wars, his work, his associated flights and confessional switches make him an ideal commentator on the disjunction between public and private. In the two works under consideration, prudence and constancy are ascribed to the two domains while the different traits of the two virtues reflect on the different moral framework of public and private. The moral superiority of the private realm is associated with the divine through man's personal relationship with God following the Stoic notion of the kinship between human and divine reason. Prudence, an entirely human and temporal virtue, equips man in his conduct through the instability and depravity of temporal/human affairs. Man can still be constant, however, and maintain his morality and religious integrity in private. Thus, in the context of the continuous religious tension and political instability the moral implications of the distinction between the two realms render the discourse of the relationship between public-private and divine-temporal into an issue regarding the limits of ecclesiastical and political jurisdiction.


                D. Cadman. `Th'accession of these mighty States': Daniel's Philotas and the union of crowns (p. 365)

                Notes: 51

                The focus of this article is upon Samuel Daniel's neo-Senecan tragedy, Philotas, a play that has been widely interpreted as a drame à clef about the fall of the Earl of Essex. This article aims to propose an additional, and hitherto overlooked, political subtext in the form of topical allusions to the new king, James I, with Alexander the Great's victory over the Persian king, Darius the Great, and the subsequent conquest of his realms, providing a fitting analogue for James's accession to the English throne. I will argue that contemporary concerns and specific events surrounding the accession – such as James's defence of divine rights, his campaign to unite the kingdoms of Britain, and the excessive number of knighthoods he awarded in the early part of his reign – are interrogated in the play's sub-plot which dramatizes Alexander's assumption of godlike status and the increasing influence of Persian subjects in Macedonian society. This reading thus shows how the play engages with more immediate political concerns alongside certain controversies left over from Elizabeth's reign.

                S. Daniel (1562-1619)

                G.S. Eschrich. Reading Philippe Desportes in Le Rencontre des muses de France et d'Italie (p. 385)

                Notes: 35

                This essay focuses on Le Rencontre des muses de France et d'Italie, a text that is rarely discussed yet is crucially important in the reading and interpretation of Philippe Desportes. Through a close textual analysis of the editor's preface, and of four paired sonnets from Le Rencontre, this study shows Desportes' poetic skills and contributions to early modern poetry, and also how he differentiated himself from his Italian sources. It argues that this volume, possibly compiled with the intention to denounce Desportes' many Italianisms, in fact, turned out to herald his work and further his career, just as other anthologies had done for many sixteenth-century Italian poets. Thus, this analysis enables the reader to reflect on Desportes' imitative style and his vibrant approach to intertextuality, as well as on the importance of Le Rencontre as a significant moment in the poetry of both France and Italy.

                P. Desportes (1546-1606)

                P. Bromilow. Rereading Lucretia in the Angoysses douloureuses qui procedent d'amours (1538) (p. 399)

                Notes: 43

                This article examines the multiple resonances of the Lucretia narrative in the 1538 romance penned by Helisenne de Crenne, the Angoysses douloureuses qui procedent d'amours. Although the work is famous for its representation of female love as sensual, irrational and tragic (qualities shared by the example of Dido) the references to Lucretia enabled readers to activate moralizing and sententious discourses that supplemented and in some cases modified the meaning of the text. Whilst certain comparisons between the protagonist and Lucretia seek to foreground the differences between sinful desire and exemplary conduct, other references to the exemplar extend beyond authorial intention, demonstrating the mulitple extra-textual agents which create meaning in early modern books. This is true of a woodcut of Lucretia possibly reused from an unrelated work, which explicitly represents the exemplar's suicide where the text itself avoids this aspect of her story that was not recommended to the contemporary female readership. Although their primary function may have been to act as a `moral yardstick' by which the reader judged the actions of the female protagonist, the inclusions of Lucretia ultimately permit alternative readings of the work as a celebration rather than a condemnation of adulterous love.

                J.D. Webb. All is not fun and games: conversation, play, and surveillance at the Montefeltro court in Urbino (p. 417)

                Notes: 92

                Works of art and literature commissioned for the Montefeltro court in Urbino and executed by Joos Van Gent, Pedro Berruguete, Baldassare Castiglione and Martino Filetico, use conversation, play, and wit to commemorate humanist interests and court practice. While these and other works celebrate Federico da Montefeltro's court, the illusionism of the intarsia panels in his studiolo do more than amuse. The objects and the uomini illustri portraits that fill the studiolo tease the visitor to the space and point to systems of surveillance and judgment as familiar to the Renaissance courtier as they were to the prisoner in the panopticon.

                P.  Berruguete (1450-1504)

                B. Castiglione (1478-1529)

                Review of Exhibitions (p. 441): 2 reviews

                P. Rackin. Book Review Essay: Stronger than we thought: revisionist studies in women's history (p. 460)

                Notes: 1

                Book Reviews (p. 466): 3 reviews (Roxolana in European Literature, History and Culture; Reading and the History of Race in the Renaissance; Law and Sovereignty in the Middle Ages and the Renaissance). 

                =========================

                 












              • Prof. B.V. Toshev
                RENAISANCE STUDIES. JOURNAL OF THE SOCIETY FOR RENAISSANCE STUDIES ISSN 0269-1213 (Wiley-Blackwell) [Cover image for Vol. 26 Issue 1] Editor: J. Richards
                Message 7 of 9 , Aug 5 10:53 PM
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                  RENAISANCE STUDIES. JOURNAL OF THE SOCIETY FOR RENAISSANCE STUDIES ISSN 0269-1213 (Wiley-Blackwell)

                  Cover image for Vol. 26 Issue 1

                  Editor: J. Richards

                  ======================

                  ToC: Renaissance Studies, Volume 26, Number 4, September 2012

                  ======================

                  Special Issue: The intellectual history of early modern empire, guest edited by Andrew Fitzmaurice

                  A. Fitzmaurice. Neither neo-Roman nor Liberal empire (p. 479)

                  Notes: 36

                  [H]istorians have described two contrasting ideologies of European empires, pre-modern and modern, corresponding with two periods of empire. The first underpinned the territorial conquests of the sixteenth and seventeenth centuries. It was based upon ideas of conquest and occupation and was neo-Roman, martial and uncomfortable with commerce even while accepting it as a reality from which public life must be insulated.

                  A. Weststeijn. Republican empire: colonialism, commerce and corruption in the Dutch Golden Age (p. 491)

                  Notes: 67

                  [W]riting in the years of twilight between the eclipse of the Roman Republic and the dawn of the Principate, the historian Sallust evocatively epitomized the gradual downfall of Rome's republican past. In the days that liberty reigned supreme, the all-pervading desire for glory had pushed the Roman civitas to incredible heights: distant lands were conquered, foreign peoples subdued, and morality and concord thrived at home. Yet as Sallust bitterly remarked, `when the commonwealth had grown great through toil and the practice of justice . . . then Fortune began to grow cruel and to bring confusion into all our affairs.'

                  P. Stern. Corporate virtue: the languages of empire in early modern British Asia (p. 510)

                  Notes: 112

                  [F]or those many early modern English theorists and statesmen who regarded wealth, accumulation, and even commerce with deep suspicion, the English East India Company was easily damned as the greatest of reprobates. Even amongst overseas traders, it was arguably the least concerned with exporting English manufactures and the most reliant upon the expatriation of specie. Its relatively novel, but hardly unique, form as a chartered, exclusive joint-stock company for foreign trade, which Thomas Hobbes denounced as `double monopolies' incorporated for the purposes of private greed only, only added fuel to the fire.

                  T. Hobbes (1588-1679)

                  East India Company house

                  D.H. Sacks. The true temper of empire: dominion, friendship and exchange in the English Atlantic, c. 1575–1625 (p. 531)

                  Notes: 110

                  `[E]mpire', a word derived from Latin roots, has multiple meanings in English. Two of them are of particular relevance to this study of the place of trade in imperial thought during the early modern era. In one meaning, conveyed most pointedly in the English Act in Restraint of Appeals of 1533, `empire' refers to a country or state that owes no allegiance to any earthly authority and is free from dependence on the goodwill of any outside master. Use of term distinguishes the place as an autonomous entity possessing unity within its borders, and indicates that its government exercises a form of sovereignty over its inhabitants and territory.

                  S. Belmessous. Greatness and decadence in French America (p. 559)

                  Notes: 76

                  Between 1540 and 1565, the French unsuccessfully attempted to establish colonial settlements in the New World. In Canada, they were defeated by the harshness of winter and the ravages of scurvy; in Brazil, the France Antarctique was destroyed by the Portuguese; in Florida, the French were massacred by the Spaniards. Reflecting on French colonial failures, the humanist essayist Michel de Montaigne famously commented in 1580: `I am afraid our eyes may be greater than our bellies, and that we have more curiosity than capacity.' Quoting Ecclesiastes, he concluded that `We embrace all, but we clench nothing but wind.'

                  M. de Montaigne  (1533-1592)

                  E. Botella-Ordinas. Exempt from time and from its fatal change': Spanish imperial ideology, 1450–1700 (p. 580)

                  Notes: 47

                  `[W]e may properly enough date the Rise of the Spanish Power from the year 1503 . . . And perhaps we may as properly fix the year 1588 for the Era of their Declension . . . [when they] lost all Hopes of attaining to Universal Monarchy', wrote Charles Davenant in 1701, and his words became flesh. In Davenant's narrative, Spain played the role of the universal empire opposed to his ideal of balance of power among states. He is seen by some historians as a mere pamphleteer, by others as an analyst of trade. Even recognizing he played the latter role, Davenant, son of a supporter of Cromwell's Western Design against Spain, was not describing a reality but helping create a new one: British imperial ideology, a legitimization for a British universal empire under the pretence of international balance of power. 

                  C. Davenant  (1656-1714)

                  ==================================





                • Prof. B.V. Toshev
                  RENAISANCE STUDIES. JOURNAL OF THE SOCIETY FOR RENAISSANCE STUDIES ISSN 0269-1213 (Wiley-Blackwell) [Cover image for Vol. 26 Issue 1] Editor: J. Richards
                  Message 8 of 9 , Feb 8, 2013
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                    RENAISANCE STUDIES. JOURNAL OF THE SOCIETY FOR RENAISSANCE STUDIES ISSN 0269-1213 (Wiley-Blackwell)

                    Cover image for Vol. 26 Issue 1

                    Editor: J. Richards

                    ======================

                    ToC: Renaissance Studies, Volume 27, Number 1, February 2013

                    ======================

                    J. DeeEclipsed: An overshadowed goddess and the discarded image of Botticelli's Primavera (p. 4)

                    Notes: 90

                    This article explores the implications of a neglected aspect of that letter to the owner of the Primavera in which Marsilio Ficino pictures the human soul as mirroring the cosmos. The lunar metaphor adopted for the ratio mobilis, middle term of the soul, is found to be an integral feature of his ontology, developed primarily in relation to Aristotelian cosmology. As template for the metaphor, the division of perceptible reality into supralunary and sublunary contrasting halves can be seen to govern the imagery of the Primavera, the contrasting halves of which are centred on a figure with a lunar amulet and inescapable overall resemblance to a lunar deity described in a recently printed and highly popular classical work. Botticelli's painting embodies a metaphysical image of the cosmos reflected in the soul, as outlined in the letter, with the planetary deity Luna as the middle term of both, mediating between the celestial and terrestrial realms of the one and – as ratio– the intellectual and sensual realms of the other. The genre of the Primavera has been obscured. It is a great Quattrocento imago mundi.

                    S. TrevisanMildmay Fane's masque Raguaillo d'Oceano (1640): royalism, Puritanism and sea voyages (p. 34)

                    Notes: 71

                    Raguaillo d'Oceano is a masque composed in 1640 by Mildmay Fane, second Earl of Westmorland, for the entertainment of his own household and friends at his Northamptonshire mansion. It presents in allegorical terms a voyage of discovery: all the peoples from the four continents ask King Oceanus leave to conquer the still-unexplored, fifth corner of the globe, Terra Australis Incognita. Their flashy garments adorned with Latin inscriptions warn against a spiritual and historical disgrace and greed ruling over humankind in spite of geographical boundaries. Raguaillo d'Oceano reveals the official and personal views, on the topical issue of sea voyages, of a Royalist and Puritan land-owning aristocrat with a passion for the sea. The masque voices Fane's criticism of contemporary England's encouragement of state-funded maritime voyages, both from a political and moral point of view, an opinion which is however reconciled with the author's interest in things maritime, from geography to contemporary expeditions, and from navigation to constellations. This essay presents a case-study on the unexpectedly complex cultural history of Raguaillo d'Oceano, as a key to unlock an aristocrat's views on England's increasing attention to its developing overseas commerce and plans for maritime conquest in the 1630s and 1640s.

                    P. Baker-BatesBeyond Rome: Sebastiano Del Piombo as a painter of diplomatic gifts (p. 51)

                    Notes: 87

                    The question of diplomatic gifts has become increasingly center stage in studies of Renaissance art. Their importance has not, however, been considered before in relation to the career of Sebastiano del Piombo at Rome. From the very beginning of his time in the city, however, Sebastiano began to paint works of art that were intended as diplomatic gifts. The two major works examined in this light will be the Visitation commissioned, most likely, by the Venetian government for Queen Claude of France and the Pietà commissioned by Ferrante Gonzaga for Francesco de Los Cobos. The argument will show both how central such commissions became to Sebastiano's career and how they may have affected the development of that career.

                    J. Spinks. Print and polemic in sixteenth-century France: the Histoires prodigieuses, confessional identity, and the Wars of Religion (p. 73)

                    Notes: 98

                    The second half of the sixteenth century saw the rise of the wonder book as a distinct genre shaped by religious conflict. These often richly illustrated compendia presented extraordinary events intended to inspire both fear and wonder. In France, wonder books appeared primarily during the Wars of Religion (1562–98). The most important was Pierre Boaistuau's 1560 Histoires prodigieuses, which appeared in revised editions incorporating new texts by Claude Tesserant, François de Belleforest, Arnauld Sorbin, Rod. Hoyer, and the unidentified `I. D. M.' through until 1598. This article surveys the complex publication history of the Histoires prodigieuses and its changing presentation of prodigious disasters and wonders like famines, floods, plagues, monstrous births and earthquakes, and examines some of the textual and visual means by which the Histoires prodigieuses reflected the violent disorder of the Wars of Religion. It focuses particularly on the shift from a publication first written by Protestant Pierre Boaistuau, and then updated and revised by Catholic authors including François de Belleforest and Arnauld Sorbin, in order to examine new aspects of polemical print culture in sixteenth-century France.

                    M. WilsonWatching flesh: poison and the fantasy of temporal control in Renaissance England (p. 97)

                    Notes: 46

                    During the Renaissance, English writers often depict poison as a weapon capable of transforming a victim's body into a timepiece, with death predictable to the year, month, day, and hour. English literary works, especially dramatic ones, however, contain numerous instances of poisons that fail to act precisely, or to act as intended. These failures serve as a useful departure point for exploring Renaissance ideas of clock-time. The dream of temporal control represented by poison promises an alignment between timepieces and bodies. When poisons fail to create this promised synchronicity, they reveal both the interdependence of bodies and horological devices and the difficulties in regulating either one.

                    E. Herdman. `Amethystus Princeps Sobrietatis': signing a sixteenth-century pledge (p. 114)

                    Notes: 68

                    Against the backdrop of Montaigne's philosophical and ethical discussion of drunkenness, ecstasy and excess in `De l'yvrongnerie', this article introduces the literary society founded in the 1570s by Johann Posthius and Paul Melissus in reaction to the licentiousness they perceived in Germany's long-established drinking culture. Through analysis of the anthology of neo-Latin verse that they consequently compiled, the Collegii Posthimelissaei Votum, their humanist society may be seen to have been founded out of a combination of religious, patriotic and vocational concerns. The significance of the Collegium's symbol, the amethyst, is examined in the light of the religious background to the vow – a background which is then balanced against the equal influences upon the Collegium of the satirical tradition surrounding Germany's drinking culture, and of the two founders' respective professions: medicine and poetry. Yet the anthology reveals that the Collegium was also motivated by more private concerns: the promotion of sober poetry both as a metaphorically purer form of wine and as a metonym for the friendship between sober poets that in itself resembles a form of ecstasy found in Montaigne.

                    Review of Exhibition (p. 133): 1 review

                    Notes: 15

                    Book Review Essay (p. 141): 1 review

                    Book Reviews (p. 146): 5 reviews (Shakesqueer: A Queer Companion to the Complete Works of Shakespeare; Ireland in the Renaissance: c. 1540–1660; The History of the Book in the West: 1455–1700; Sabbioneta Cryptic City; The Ephemeral History of Perfume: Scent and Sense in Early Modern England).

                    Reviewed by B.V. Toshev, 8 February 2013

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